“Castle”: Season 3, Episode 4. “Punked”

Production Designer: Alfred Sole

Set Decorator: Claire Kaufman

Source: IMDB

Confession: I haven’t seen that many episodes of “Castle.” What I do know about the series is that it teams a writer, Castle (Nathan Fillion, who is awesome in everything that he’s in), and a cop, Beckett (Stana Katic, whom I have not seen in anything else, but is enjoyable with her wry sense of humor). Their cases have been known to have a whimsical attitude at best and downright fantastical one at worst, mostly due to Castle’s imaginative brainstorming.

A number of the set-ups and settings presented in the show contribute to the overall atmosphere. This week’s unusual locale is an underground steampunk* society. “It’s a subculture that embraces the romance and simplicity of the past and at the same time couples it with the hope and promise and the sheer super-coolness of futuristic design,” Castle explains. Apparently this means that their ideal clubhouse should look like a Victoriana version of a TGIFriday’s. With no tables or chairs.

*A genre of science fiction set in Victorian times when steam was the main source of machine power. Source: dictionary.com

Source: ABC.com

The scenes shown in the Gaslamp League: Private Steampunk Society headquarters make my brain itch quite a bit. The primary reason for this is that I have no idea what is meant to take place in this clubhouse other than to drink, stand around in packed quarters wearing highly dramatic period clothing, and ride around through the masses in steam-operated pennyfarthings that decimate the air quality. Do they hold meetings at all? Discuss literature? Practice the Virginia Reel? Conduct bake sales? 

We know that they like to show off their collections of antique weaponry (a plot point), time machine replicas, glowing Big Ben clocks, and a presentation of the film “A Trip to the Moon” on constant loop. Don’t get me wrong, it’s all very cool stuff. Only this particular set exists only to further the plot in order to partially explain why their victim could die in a turn-of-the-century duel.

Source: ABC.com

In design school one of our projects involved creating an interpretive center based solely on one design movement. At first I had thought that maybe have been the direction taken here. Only the inclusive nature of interpretive centers stands in direct contrast to the barrage of trivia questions Castle and Beckett were accosted with upon their arrival.

I feel that the art department was severely limited here with what they could do, and that the situation possibly was based on time, budget, and/or producer/director input. In response, the fantastic individual pieces were unable to create a cohesive whole. Perhaps this is the nature of temporary sets? Leave your thoughts below!

P.S. If you waited around during my tech issue drama, thanks and welcome back!

Technical Difficulties... Please Stand By

Have plenty of ideas, but a computer that doesn't want to cooperate. It appears to have some sort of virus. Do you think it will respond to NyQuil?

Just a couple of notes regarding shows I've seen this week. Sorry for the lack of links.

• What a difference lighting makes! Andy's apartment in "Rubicon" which I described as kind of a warm, moody safe haven a week or so ago looks downright chilly in the stark light of day. I love the flexibility of the space as it serves as a metaphor for Will and Andy's deteriorating relationship.
• The alternate universe on "Fringe" is a masterstroke in terms of accuracy in sets. I used to live in Hoboken, NJ ("Fringe," are you following my life? That wouldn't be creepy or anything.), and it looks absolutely nothing like the one presented on the show. But it's set in an alternate universe so it doesn't need to! The alternate universe seems to have a thing for fluorescent undermount lighting in kitchens, but that's another story for another time. 

I know that I'm kind of new to the game but would love to hear what rooms you'd like to recreate from television or movies. Please feel free to leave selections below in the comments section, and I'll see what I can whip up for you. Ciao!

"Parenthood": L.A. Times L.A. at Home Blog

Set Decorator: Julieann Getman 

I am visiting my family for most of this week. It was part of my brilliant marketing strategy: announce my magnificent set decorating blog to the world and then skip town almost immediately.

How fantastic is it then, that in checking out the Set Decorators Society of America (definitely give it a look sometime, even if just for the impressive slideshow on the home page) website, that I found in their press section a story from the L.A. Times that gives exact details, and not just speculation, for a handful of the major sets from the show? I especially adore the set for Julia's house and how Getman was able to achieve a very expensive look on a budget.

Photo credit: NBC Studios/Universal

The same article has a link to a photo gallery for "Modern Family" and "No Ordinary Family" as well. I confess: I am seriously coveting that level of access. David A. Keeps, please let me know if you need an intern from Boston. Thanks.

"Fringe": Season 3, Episode 2. "The Box"

Production Designers: Ian D. Thomas, Steven J. Jordan
Set Decorators: Beth Kushnick, Louise Roper

Source: IMDB

"Fringe" is set in Boston. It is filmed in Vancouver. There's a challenge.

I don't envy anyone who has to design a set to resemble Boston's Green Line, a subway train that the locals refer to mostly with venom. Some utter confusion, but mostly venom. It's old – the oldest in the nation – it's slow, and it holds so few passengers that one can tell who's wearing Old Spice and who's not. But to some extent I wish that the version of Kent Street station featured in this episode actually existed.

According to Wikipedia,* Kent Street Station "consists of two staggered side platforms which serve the "C" Branch's two tracks." In order to create dramatic tension and allow Peter Bishop (Joshua Jackson) to save the city, the station had to operate on a single track with a dark and ominous tunnel. Quite frankly, I hate it when I'm waiting on an island platform and the train that arrives first is always running in the opposite direction from which I want to go, but I sense I'm not alone in that. That same entry also states that the station is not wheelchair accessible, so the elevator is inaccurate (if that's where the exit where the up and down arrows leads to), but desperately needed.

Oh, and one other little detail: the real Kent Street station is an OUTDOOR platform, which Wikipedia managed to leave out. Stupid Wikipedia. (Side note, I finally looked up the map and realized that Kent Street is where my former doctor's office is located.) Well, that doesn't work for these purposes at all. Time for some studio magic!

*I know that Wikipedia is not always the most reliable source but I can't imagine anyone being bored enough to mess with this.

Seriously, a pay phone? And an extra is using it? I find I am a bit indcredulous.

IT'S GOT AN ARRIVAL ANNOUNCEMENT LIGHT BOARD!  My apologies to public transportation designers who actually know the technical term for that. Okay, it's probably just a lit up timepiece, but still. I've visited Washington DC several times and have gotten envious at their ability to predict the arrival of the next train. Unfortunately the Green Line is so far from automated that without a universal renovation something this practical seems so highly unlikely. That doesn't stop me/us from wanting it.

Wait, where did the pay phone go? Behind the wall, I know, but it looks like a clever trick.

Spitting image items include the grimy subway tile, the green I-beams, signage, and the overall look and structure of the platform. (Note: I am speaking in terms of the Green Line in general, since the whole "outside platform" thing renders my whole discussion moot) In cases like this, having the big picture match up is much more important than the little pieces. After all, the set is the backdrop on which the characters are meant to sell the story.

Any other Bostonians want to chime in? What's wrong here? What's right here? Other than the obvious of course.